04 New representation for

UE in US. Music publisher

Theodore Presser Company starts

UE representation on 1 January 2005.

07 Birthday approaching.

Pierre Boulez celebrates his 80th

birthday on 26 March 2005.

20 Janácek viewed cinemati-

cally. New animated movie of

"The Cunning Little Vixen” on DVD.

42 Georg Friedrich Haas.

Updated worklist inside.

Wolfgang Rihm

newsletter01/05 • winter 2004/2005

2

NEWSRepresentation — 4Hire and Sales Material — 4

COMPOSERSRihm — 5Halffter — 6Boulez — 7Sotelo — 8Baltakas — 9Staud — 11Pärt — 12Berio — 13Cerha — 14Haas — 14Sawer — 15Feldman — 15 Furrer — 16Schnyder — 16Mozart 2006 — 18 - 19Janácek — 20Mahler — 21Krása — 22Berg — 23Bartók — 24Kodály — 24Krenek — 25Martin — 26Weill — 27Martinu — 28Schmidt — 28

Contents

contents 01/2005

3

REDISCOVERIESZemlinsky — 29Edmund von Borck — 29 - 30Rieti — 30Alfvén — 31Atterberg — 31

REVIEWSSchreker — 32Birtwistle — 33Bennett — 33

ANNIVERSARIES — 34 - 35

WORLD PREMIÈRES — 37

NEW RELEASES — 38 - 39

NEW ON CD + DVD — 40 - 41

WORKLISTHaas — 42 - 44

Dear reader,

dear Mozart-

programmer,

we would like to thank you for thenumerous positive reactions to ourNewsletter's new format.They con-firm our belief that there is a needfor concise and clearly structuredinformation on the music, compo-sers and activities of UE.It may surprise some to find them-selves reading about WolfgangAmadeus Mozart in the editorial ofthis second volume. But Mozart's250th anniversary in 2006 is oftwofold importance to UE: firstlydue to the results of the latest re-search on Mozart interpretation(Wiener Urtext Edition), and se-condly thanks to all the new, exci-ting and highly individual ways inwhich our composers continue todeal with the phenomenon ofMozart. You can read more aboutMozart - viewed and heard anew onpage 18 -19.The editors

news

4

REPRESENTATION

UE in the US

We are pleased to announce ournew representation and distribu-tion structures in the US:

Music for saleAll works for sale published by Universal Edition, including theWiener Urtext Catalogue, will bedistributed by the American musicpublisher Theodore Presser Com-pany starting on 1 January 2005:

Theodore Presser Company588 North Gulph RoadKing of Prussia, PA 19406, UStel 001-800 854 6764 ext 41fax 001-888 525 3636sales@presser.com www.presser.com

Hire material, grand rights, permis-sions, promotionFor these areas, the contact re-mains European American MusicDistributors LLC, which since 10October 2004 has been reachableat its new office in New York:European American Music Distributors LLC35 East 21st StreetNew York NY 10010-6212, UStel 001-212 871 0230 fax 001-212 871 0237 eamdllc@eamdllc.comwww.eamdllc.com

Film rights and mechanical rights,promotion

Universal Edition, Inc. (BMI)UE Music, Inc. (ASCAP) 331 West 57th Street #380New York, NY 10019, UStel 001-212 252 3981fax: 001-212 656 1877ueinc@universaledition.comwww.universaledition.com

HIRE AND SALES MATERIAL

UE sheet music

available world-

wide!

With its worldwide service net-work, Universal Edition guaranteesthe availability of its publishedworks as well as comprehensive in-formation on its entire catalogue.Both the website www.universale-dition.com and the online UE Shopfound there allow visitors to placedirect orders for all hire and salesmaterial.Good music retailers also stock UEpublications, and they are happy tohandle requests for particular tit-les.And on www.sheetmusicnow.com,you will find over 600 selected UEtitles as digital prints.

rihm

5

RIHM

Three decades

of music

The coming months have in store adecidedly divers selection of Wolfgang Rihm's rich oeuvre. Fewcontemporary composers havebeen able to enjoy seeing theirmusic become part of the concertrepertoire to such an extent. In-deed, conductors and ensemblesnow turn to Rihm's compositionsas a matter of course, thus contri-buting to a living tradition of inter-pretation.Christoph Eschenbach is to con-duct Musik für Klarinette und Or-chester (soloist: Jörg Widmann) on17 and 18 Dec in Hamburg; MarekJanowski will lead a performanceof Sotto voce with the RSB and Ma-jella Stockhausen (piano) in Berlin(13 Jan); Ensemble Modern will pre-sent Jagden und Formen to theIrish public on 20 Feb in Dublin;Peter Rundel is to conduct thestring orchestra pieces Ländler andErscheinung with the Jonge Filhar-monie in Courtrai/B on 12 March;the Minguet Quartet will be play-ing String Quartet No. 3 in Duis-burg on 27 Feb 2005; Ensemble Re-cherche will bring Drei Vorspiele zueiner Insel (flute, violin, percussion)back to Freiburg, the city where itwas premièred, on 7 Dec.

We can also look forward to threeRihm premières: the Basel Sinfo-nietta commissioned an orchestra-tion of the songs for tenor entitledRilke: Vier Gedichte (2000); soloist:Christoph Prégardien, conductor:Emilio Pomarico (10 Dec), the Phil-harmonie Köln has commissionedTrio for flute, violine and cello (20January), and Über-Schrift for 2 pia-nos will be premiered at the ViennaKonzerthaus on 16 January 2005.

halffter

6

HALFFTER

Music for

Madrid and

Dresden

For the occasion of his 75th birth-day, Christóbal Halffter (born on 24March 1930) was invited by theDresden Philharmonic to composean orchestral work. Palimsesto fortimpani and orchestra will receiveits première on 5 Feb 2005 at theKulturpalast in Dresden, conductedby Pedro Halffter and with Alexan-der Peter, timpani; the piece is de-dicated to the memory of long-serving artistic director Olivier vonWinterstein.

Palimsesto means to write or paintsomething anew on a page or acanvas on which something has al-ready existed. … I used this processon a piece which I had composed

back in 1956. Of this score, I left onlythe formal structure intact. Over it Ilaid sound surfaces of various dyna-mic densities, resulting from my ex-perience during the nearly 50 yearsspent composing since then.Hence, Palimsesto is a "new" score inwhich the "old" elements can still beheard, depending on where wefocus our eyes or our ears. (Halffter)

In celebration of the 100th birth-day of the Orquesta Sinfónica deMadrid, Halffter wrote Eritaña fororchestra, an arrangement of theoriginal piano piece Eritaña fromIsaac Albeniz' piano cycle Iberia.The orchestra is given the role ofthe main instrument. World premi-ère: 30 December 2004, TeatroReal, Madrid, c. Rafael Frühbeck deBurgos.

7

boulez

BOULEZ

80th Birthday

approaching …

It will be a special birthday indeed:his 80th, on 26 March 2005. Oneeasily gets the impression that theentire musical world is hasteningto prepare. After all, this is thebirthday of a personality who, fordecades, has made his mark on themusical scene like none other - per-haps even becoming its very sym-bol. It is about a composer who,with his compositions, writings, te-aching and interpretations, as wellas with the foundation of IRCAMand Ensemble Intercontemporain,has had an epochal influence. It isabout a man who, even today, pur-sues an utterly astounding array ofactivities with unbelievablestrength and energy, providing usall with an example of how one cancontinue treading one's chosenpath at an advanced age. In every-thing Pierre Boulez does, he servesthe music of today and of tomor-row.

Over the next few months, he willbe conducting several works inParis (cummings ist der dichter, Dé-rive 2, Notations I-IV, VII), New York(Dérive 2), Munich, Cologne andAmsterdam (Domaines). NotationsI-IV will also be performed by Ba-renboim in Berlin, David Robertson

and Ensemble Intercontemporainwill perform …explosante-fixe…,Zsolt Nagy will conduct the RAI-Or-chestra in Figures-Doubles-Prismesin Turin, Ensemble Alternanceunder Robert HP Platz will play abirthday concert in Düsseldorf (Dé-rive 1, Dialogue de l'ombre doubleet al), and Vienna's Konzerthauswill stage a Boulez marathon withworks for piano.

sotelo

8

SOTELO

Dance into the

center of sound

At a benefit concert for UNICEF on6 Dec 2004 in Florence, MauricioSotelo's Cuaderno de Danzas forviolin and ensemble will be givenits world première by the Contem-poartensemble.From a 'kaleidoscopic' perspective, ittouches upon the sounds andechoes of old flamenco dances …. A'Fanfarria' (show-off) gets us ac-quainted with the multifariousbeing of a dance which is fast, pas-sionate, stirring, ecstatic and burles-que, while always bearing massiveconfusion within. Here, dancemeans a dance into the center ofsound, not an actual dance: felt orsung by a violin… (Sotelo)

Beat Furrer, who celebrates his50th birthday on 6 December, re-ceived the dedication of the workWall of light red - for Beat Furrerfor saxophone and chamber en-semble, which Klangforum Wienwill première on this date in Graz.

Sotelo took his inspiration for thepiece from the Irish painter SeanScully and his pictures Wall of light… (red, black, brown…), which Soteloconsiders to be among the mostintense works of contemporarypainting.Here I allow myself to quote Scullyhimself, whose view of his work hasa lot to do with my own musicalviewpoint at the moment:'I am trying to give light a feeling ofbody… The words light and spirit areinterchangeable in my opinion. I'mtrying to capture something thathas a classical stillness and at thesame time has enough emotion ordissonance to create an unresolvedquality…'

baltakas

9

BALTAKAS

Mountain and

stone

Asked about the latest part of acycle to be written for the festival‘das neue werk’ in Hamburg (première on 24 February 2005),Vykintas Baltakas answers with ametaphor:

What is a cycle? You stand on amountain top and have a stonelying before you on the ground. An-ything is possible, you are still free.But you want to use this freedom.So you move the stone, at whichpoint its own life begins. How it fallsand what else happens as a conse-quence depends on innumerablefactors. One can also imagine amountain without beginning andwithout end, with countless stonescapable of moving in all directions,even upwards. I know I need onlymove the first stone. Everything elseI can only observe and note. My fieldof vision is limited; my impressionscan result only in a mosaic-likeimage of the mountain. And that isa cycle.

10

staud

STAUD

A map is not

the territory

Following the successful Japanesepremière (25 August 2004, TokyoSinfonietta, c. Yasuaki Itakura),Johannes Maria Staud's A Map isnot the territory (2001) for large en-semble is about to receive its USpremière. HK Gruber will conductthe New World Symphony on 22 Ja-nuary 2005 in Miami (see also Frie-drich Cerha).

The title of this work refers to thetheory of Alfred H. Korzybski (1880 -1950) who developed 'General Sem-antics' in his principal work 'Scienceand Sanity'.Elaborating on the idea behind thetitle, the composer writes:

Is the acoustic result not dependentupon the way in which the perfor-mers follow - interpret - the map?Does this not indicate the presenceof an additional quality, indispensa-ble to the effect of music? Some-thing, without which the symbolsand notational markings on thepage would never "come to life", wi-thout which no poetic meaningcould be made accessible throughthem?

11

pärt

PÄRT

Of pilgrims'

songs and

swarms of bees

New York: With a "Special tributeto Arvo Pärt", the New York ensem-ble Continuum, led by Joel Sachs,

will offer a cross-section of ArvoPärt's chamber and string musicat Hunter College on 5 Dec. Theprogramme includes: Wall-fahrtslied (in the rarely heardquartet version), Summa, Es sangvor langen Jahren, Passacaglia,Darf ich…, Trisagion, Orient & Oc-cident, Silouan's Song, Fratres and2 Wiegenlieder.

Paris: Pärt's latest work, L'abbéAgathon for soprano and 8 cel-

los, will be given its first perfor-mance in Paris (6 Dec 2004) by theOctour de Violoncelles de Beauvais,which also played the world premi-ère in May 2004 with soloist Bar-bara Hendricks. The soloist in Pariswill be Kaoli Isshiki. The privateFrench classical station Radio Clas-sique will broadcast the world pre-mière concert on 16 December.

Copenhagen: Alexei Lubimov willbe the soloist in the Danish premi-ère of Lamentate for piano and orchestra with the Danish NationalSymphony Orchestra/DR, c. AndreyBoreyko, on 10 February.

Hamburg: A few days prior (23 Ja-nuary), Andrey Boreyko conductsthe Hamburg Symphony Orchestrain Pärt's Wenn Bach Bienen gezüch-tet hätte for piano, wind quintet,string orchestra and percussion.In this work, Pärt quite unconven-tionally writes out the B-A-C-Hmotif as a string tremolo whichcrescendos into a giant swarm ofbees. A calm, contemplative secondpart concludes this 8-minute work.

12

berio

BERIO

Master of

interaction

Brussels: Belgium's Ictus Ensemble,in co-operation with the Kaaithea-ter, will shed light on some of themany facets of Luciano Berio'soeuvre on 18 Dec: universality andvirtuosity, eroticism and revolt, andof course Berio's indefatigable se-arch for the roots of language.Alongside Ricorrenze for windquintet (1987) and Linea for 2 pianos,vibraphone and marimba (1973),the focus is also on Circles for harp,mezzo-soprano and percussion(1960) and Naturale for viola, per-cussion and tape (1985). Circles wasthe result of an interaction bet-ween Cathy Berberian and 3 instru-mentalists. In Naturale, Berio - star-ting with Sicilian folk songs andthe impressively original voice of

folk singer Peppino Celano - deve-loped a stream of harmonisingcontrasts. Soloists: Paul De Clerck,vla, Maria Husmann, Mezzo.Helsinki: SOLO for trombone andorchestra, premièred in 1999 byChristian Lindberg in Zurich, hasbecome one of Berio's most suc-cessful concert pieces, and Lind-berg has since performed it in allthe important musical centres ofthe world. On 21 Jan, he plays thispiece in Helsinki (Finnish RSO).Amsterdam: On 16-17 Dec, SOLOwill also be on the programme ofAmsterdam's Concertgebouw Or-chestra (soloist: Jörgen van Rijen).Turin: Roberto Abbado, a passiona-te interpreter of Berio's oeuvre, willconduct Epiphanies for femalevoice and orchestra with the Orchestra Sinfonica della RAI on 13January 2005.

13

cerha / haas

CERHA

Impulse

in the US

Commissioned by the Vienna Phil-harmonic in 1992/1993, Impulse forlarge orchestra (23') was premièredshortly after Friedrich Cerha's 70thbirthday, in 1996, under André Pre-vin. The work's US première will beconducted by Heinz Karl Gruberwith the New World Symphony on22 January in Miami.

In contrast to many of his colleagues, Cerha has never beenhesitant to furnish his new workswith revealing and detailed intro-ductory texts. Of this composition,he writes:

Formally, Impulse is a very diverse,rich piece, also containing stark con-trasts in the emotional sense. Formsof a powerful, passionate nature al-ternate with ones of more peaceful,meditative, elegiac expressivity. So-metimes they are juxtaposed in aharsh, abrupt way. The basis for thepitch organisation is a five-tonerow…

HAAS

New Catalogue

In this Newsletter one can againfind an updated composer’s catalo-gue, that of Georg Friedrich Haas(pp. 42 - 44); a printed version willsoon follow.

Haas is currently working on apiece for baritone and ensemblecommissioned by the Witten NewMusic Days.

Three ensemble works by Haas willbe heard in December: "…Schatten… durch unausdenkliche Wälder"(1992) on 7 December in Geneva;Tria ex uno (1991) on 16 Decemberin Wuppertal; and Nach - Ruf … Ent-gleitend (1998/99) on 20 Decem-ber in Essen.

14

sawer / feldman

14

FELDMAN

Morton, Morton,

Morton ...

From 8-15 January, the Theater amNeumarkt in Zurich will once againpresent Morton, Morton, Morton,an evening of music, dance, textand silence based on For BunitaMarcus by Morton Feldman - atcentre is the composer's passiona-te love of sound, while ample spaceand time are also given over to si-lence. (Direction: Joachim Schlö-mer, piano: Markus Hinterhäuser)

The Staatstheater Stuttgart hasbeen presenting a new productionof Feldman's opera Neither since 31October (further performances: 4Dec 2004, 20 and 21 Jan 2005). Thecomposer wrote this work in1976/77 after a text written for himby Samuel Beckett. The unusuallibretto, without roles or stage directions, resulted in an abstractopera devoid of characters and scenery (conductor: Roland Kluttig,direction: Studio Azzurro, soloist:Anu Komsi).

SAWER

Rebus in London

Following musikFabrik's successfulworld première of David Sawer'sensemble work Rebus comes theUK première, this time performedby the London Sinfonietta andDavid Porcelijn at the QEH (19 Fe-bruary 2005).Part of a day entitled Inventions2005, other works by Sawer to beperformed are Cat's-Eye (also bythe London Sinfonietta) andSounds (BBC Singers).

Meanwhile, Tiroirs, which was per-formed in Denmark in November,will receive its Portuguese premiè-re on 28 February 2005, when Sus-anna Mälkki conducts BCMG.

Morton, Morton, Morton...

15

furrer / schnyder

FURRER / NERUDA

Dort ist das

Meer, nachts

steig ich hinab

For one of the concerts in his ‘dasneue werk’ festival in Hamburg,Richard Armbruster has pro-grammed Beat Furrer's piece Dort ist das Meer - Nachts stieg ichhinab, composed in 1985/86 (NDRSymphony Orchestra and Choir,c. Peter Eötvös, 25 February 2005).

With reference to the poem by Chi-lean poet Pablo Neruda, Furrer re-marks that it is an expression of de-spair over past tragedy, misery, andthe Mapocho River as its witness,born of snow, sprung from the beakof an eagle, winding through the"valley of ashes". … The increasinglyintense cries of the poet, the fearfulquestions … are answered with si-lence. Neruda's text was not usedhere as a programmatic model forthe composition of the music. Sinceonly fragments of his text wereused, it was possible to subjugatethe language to the musical compo-sition.

SCHNYDER

Portrait concert

in Winterthur

The Musikkollegium Winterthur,a long-standing partner of DanielSchnyder, will present a concertportrait concert of Schnyder on 26January 2005.The Orchester MusikkollegiumWinterthur under Kristjan Järvi willinterpret his Trumpet Concerto(Reinhold Friedrich, trp.), Concertoand Ritus from Symphonic Encoun-ters with South Africa.

Schnyder's oeuvre is marked by anopenness to the entirety of his ownmusical experience, where twelve-tone music sits equally next toBach and jazz.

Beat Furrer

16

A review of Mozart related works:

Walter Braunfels Don Juan for large orchestra 1920 - 1924(reference to Don Giovanni) 18’

Gottfried von Einem Steinbeis-Serenade for 8 instruments 1980 - 1981(variations on a theme from Don Giovanni) 13’

Georg Friedrich Haas "... sodaß ich's hernach, gleichsam wie ein schönes Bild... im Geist übersehe" for strings 1990/91(reference to the 2nd movement of Sonata in B major K454) 16’

Frank Martin Ouverture en hommage à Mozart for orchestra 19567’

mozart 2006

MOZART

Viewed and

heard anew

The relationship between Universal

Edition and Wolfgang Amadeus Mozartis twofold, and both of these aspects

will be playing a prominent and impor-

tant role in Mozart Year 2006:

The Wiener Urtext Edition is at work on

new editions of Mozart's most impor-

tant piano work - editions which will

take into account new and surprising

findings that make a new interpreta-

tion of the musical text necessary.

These findings will no doubt have a po-

werful impact on performance practi-

ce, particularly in light of the now cer-

tain fact that Mozart viewed improvi-

satory elements as being integral to his

works.

The second aspect has to do with the

influence of Mozart on the composers

of our time, who, decade after decade,

have repeatedly brought forth works

that deal with Mozart in the most di-

verse ways. A detailed catalogue of

these Mozart related 20th and 21st

century works can be found on our

website, at

www.mozart-noten.com

17

Arvo Pärt Mozart-Adagio for violin, cello and piano 1992, rev. 1997(reference to the Adagio of Sonata in F major, K 280) 6’

Wolfgang Rihm Sotto voce Notturno for piano and small orchestra 1999(suitable for Mozart concert programme) 14’

Alfred Schnittke (K)ein Sommernachtstraum / Not after Shakespeare for large orchestra 1984/85(Mozart / Schubert related Rondo) 10’

Alfred Schnittke Moz-art à la Haydn (rights only for Austria)

Play with music for 2 violins, 2 small string orchestras, 1976 - 1978double bass and conductor 8’

(Pantomime K 416 d)

Divertimento für Mozart - 12 aspects of the aria "Ein Mädchen 1956oder Weibchen wünscht Papageno sich" for soloists and orchestra

Collective work of 12 composers:

Gottfried von Einem, Luciano Berio, Heimo Erbse, Peter Racine Fricker, Niels Viggo Bentzon, Roman Haubenstock-Ramati,Giselher Klebe, Gerhard Wimberger, Maurice le Roux, Jacques Wildberger, Maurice Jarre, Hans Werner Henze

mozart 2006

18

janácek

JANÁCEK

viewed

cinematically

From the House of the Death cansurely be viewed as the great musi-cal legacy of Leos Janácek, impres-sive proof of the composer's arti-stic refinement. He created thework in 1927/28, in anticipation ofthe industrial-scale mass murderof human beings in concentrationcamps. German film-maker VolkerSchlöndorff, known particularly forhis international film successes Derjunge Törless, Die verlorene Ehre derKatharina Blum and Die Blechtrom-mel, has worked with this operaonce before, in Paris during the1980s. And his new production atthe Deutsche Oper in Berlin is thesubject of eager anticipation. Chri-stian Thieleman will conduct the

orchestra of Deutsche Oper Berlin,and the première is on 19 Feb 2005.

Starting from the original 1920sdrawings which inspired Janácekto compose his Cunning LittleVixen, Geoff Dunbar created a car-toon version of the opera for theBBC, a version which has now beenbrought to the market as a DVD(Opus Arte OA 0839 DVD).

A whole palette of new animationtechniques was developed in orderto lend the pictures the necessarydepth and dimension. A sympathe-tic arrangement of the score la-sting for one hour's duration andthe subsequent musical executionwere in the hands of Kent Naganoand the DSO Berlin, plus an ensem-ble of young singers. Janácek'sopera on the cycle of life, death andnew life is a story filled with love,humour and tragedy. Dunbar's car-toon characters underline thedrama, humour and depth of fee-ling present in this work. An expe-rience for all age groups!

19

mahler

MAHLER

His 10th Symphony

has 5 movements,

Das klagende

Lied has 3!

Numerous experts, aiming to crea-te a complete and logical workfrom the framents of Gustav Mahler's 10th Symphony, failed todo so in the true spirit of the com-poser. Rudolf Barshai also dared anattempt, and the results of his eff-orts have since met with unan-imous approval. Barshai had ofcourse the advantage of sources towhich others had not had access.On 27 November, he conducts the10th Symphony in Japan (GunmaSO) for the second time.

Opus 1, as Mahler himself calledDas klagende Lied even many yearslater, originated with the 3 sectionsWaldmärchen, Der Spielmann andHochzeitsstück. We can only specu-late as to the reason why Waldmär-chen was omitted at the première.Only now is the original, 3 move-ment version returning to concerthalls, such as on 12 and 13 Decem-ber 2004, with the StaatsorchesterStuttgart under Lothar Zagrosek.

20

krása

HANS KRÁSA 1899 - 1944

The work of a

mature apprentice

Hans Krása is much more than thecomposer of the children's operaBrundibar, with which he is typical-ly associated.UE recognised his outstanding talent early on and published hisfirst orchestral work: OrchestralSongs op. 1 (1920), composed at theage of 21. Krása's teacher, Alexan-der Zemlinsky, probably put in agood word for him with directorEmil Hertzka. Zemlinsky, after all,had conducted the première at a

graduation concert in Prague'sconservatoire in 1921. The 8 minutework for voice and orchestra is asetting of four Galgenlieder byChristian Morgenstern. On 12 Fe-bruary in Amsterdam, it will haveits Dutch première: Gerd Albrechtwill conduct the Radio Symfoni Or-kest with Michelle Breedt, mezzo-soprano.The concert is part of Jan Zekveld'sfestival dedicated to so-called "de-generate music".

21

berg

BERG

Wozzeck

in Tel Aviv

Alban Berg’s Wozzeck, a milestoneof 20th century operatic history, isto see its first ever performance inIsrael: a new production of this ma-sterpiece is being mounted by theIsrael Opera in Tel Aviv in coopera-tion with the Wiesbadener Mai-festspiele.

This complex and highly expressiveopera, inspired by Georg Büchner'sdramatic fragment Woyzeck, wascomposed between 1914 and 1921and was premièred with overwhel-ming success by Erich Kleiber on 14December 1925 at the DeutscheStaatsoper Berlin; it has since goneon to become one of the most per-formed classical stage works of themodern era.

In Tel Aviv, the Israel Opera will beperforming Wozzeck as staged byManfred Beilharz, a productionwhich was premièred in April 2003in Wiesbaden and was celebratedby audiences and the press withequal enthusiasm. Ascher Fisch willconduct the Israel SO and AndreasScheibner will sing the title role innine performances at the Tel AvivPerforming Arts Center (16, 17, 18, 19,21, 22, 24, 25 and 26 February 2005).

22

bartók / kodály

BARTÓK

from Bratislava

to Nagoya

The National Theatre in Slovakia'scapital, where Béla Bartók and hismother lived in 1892/93, is to stagetwo of his three one act works - theopera Bluebeard's Castle and theballet The Wooden Prince (premiè-re on 15 January 2005).A week later, the ballet will alsoopen at the Deutsche Oper amRhein in Duisburg (22 Jan);Bluebeard will see a semi-stagedperformance in Nagoya on 11 Feb.The suite from the ballet has been

programmed in Berlin under Mi-chael Gielen (1-2 Feb) and in Parisunder Kirill Karabits (6-8 Jan).Steven Sloane will conduct thesuite from the pantomime TheMiraculous Mandarin on 13 Feb inBochum, and Peter Eötvös will con-duct performances in Stuttgart(19-21 Jan) and Hamburg (25 Feb).

KODÁLY

Psalmus and

Dances

Psalmus hungaricus, generally ak-knowledged to be one of the grea-test choral works of the 20th cen-tury, will be performed on 28 Jan atthe St. Nikolauskirche in Aachen(Collegium Musicum of the RWTHAachen under Hub. Pittie).In his psalm, composed in 1923,Zoltán Kodály used the words of amedieval Hungarian preacher tocriticise the conditions of his ownday. During the next few months,two Kodály favourites - MarosszékDances and Dances from Galánta -will be heard in Zurich (28 - 30 Jan)and in Koblenz (23 January 2005).

Zoltán Kodály

23

krenek

KRENEK

Ernst-Krenek-

Institute Private

Foundation in

Krems

12 September 2004 saw the opening of the Ernst-Krenek-Insti-tute Private Foundation in Krems,Austria. Ernst Krenek, who leftAustria following the Anschluss of1938, settled in California, where hedied in 1991. His widow, Gladys N.Krenek, has since done much topromote the appreciation of his oe-uvre. In February 2004, she foun-ded the Ernst-Krenek-Institute Pri-vate Foundation with the supportof Austria's federal governmentand the Province of Lower Austria.The Foundation exists to collectand house Krenek’s entire legacypermanently in Krems, making thiscity the composer's new home. TheFoundation is dedicated to the re-search, presentation, support andpromotion of Ernst Krenek's work.

Krenek's 2-part opera Jonny spieltauf, premièred in 1927 in Leipzigand performed thereafter on over70 European stages, will be perfor-med on 24 February 2005 at theCologne Opera in Günter Krämer'sproduction which was premièredat the Vienna State Opera on 16 De-

cember 2002. Musical direction: Ry-usuke Numajiri, Gürzenich Orche-ster Köln. Further performances: 26Feb and 4, 6, 11, 13, 16, 19, 23 and 27Mar 2005.Fragmente aus Karl V for sopranoand orchestra will be heard on 26Feb in Eindhoven with Marc Sou-strot and Het Brabants Orkest.

Capriccio recently released Krenek'sthree one act works Der Diktator,Schwergewicht oder die Ehre derNation and Das geheime König-reich (Capriccio, 2 CDs, 60107).

24

martin

MARTIN

30th anniversary

of death

On 21 Nov, the musical world willremember the 30th anniversary ofSwiss composer Frank Martin'spassing. In the three decades follo-wing his death, interest in his workhas by no means decreased - a positive sign which testifies to thevitality of his diverse oeuvre.

Martin was a deeply religious per-son, and he gave voice to his faithin a number of gripping composi-tions. In Golgotha, he created a dra-matic and moving Easter oratorio,and Le Mystère de la nativité is arecounting of the Christmas my-stery which allows for a staged pro-duction. For the opera house, hecreated Der Sturm after Shakespea-re's Tempest and the musical co-medy Monsieur de Pourceaugnacafter Molière.Numerous concert works havefound their way into the interna-tional repertoire, above all SechsMonologe aus Jedermann for bari-tone and orchestra, Concerto forseven wind instruments, timpani,percussion and strings, Petite sym-phonie concertante for harp, harp-sichord, piano and two string or-chestras, and the violin concertoPolyptyque.

Martin's written statements bearwitness to the great sense of re-sponsibility with which he approa-ched his vocation. One's inner sensemust always watch over both hea-venly inspiration and conscious in-vention. … It is not an attitude of ra-tional coolness, but rather one's pas-sion that must be merciless … oppo-sing everything that does not con-form to one's intent, no matterwhere it comes from.

25

weill

WEILL

Off to

Mahagonny...!

Part 2

In the last issue of our Newsletter,we wrote of the turbulence sur-rounding the creation of the operaAufstieg und Fall der Stadt Maha-gonny - as well as about the cur-rent, successful productions in Nuremberg and Darmstadt.In January 2005, three Italian operahouses will be co-producing a newproduction directed by Daniele Ab-bado and conducted by JonathanWebb: Teatro dell'Opera di Roma(28 and 30 Jan, 1, 3, 4, and 5 Feb), ITeatri di Reggio Emilia (12 and 13Feb), and Teatro Petruzzelli di Bari(4 and 6 March).

A further new production in Pforz-heim, under the musical directionof Jari Hämäläinen and the stagedirection of Jochen Biganzoli, willbe premièred on 4 February.

An evening of a special sort awaitsthe audience of the Klubhaus-Ak-zente Concert in Zurich on 25 No-vember: this evening is dedicatedto Lotte Lenya. Weill gave his musicto her voice, and Lenya gave hervoice to his music. And the twolived ever after in constant symbio-sis, in a roller-coaster marriage rife

with disloyalties and affairs. Inspite of everything, the two wereunable to let go of one another,connected by a spiritual link origi-nating in Mahagonny, a city of an-archy, free love and anti-bourgeoisrebellion.

UE composer and saxophonistDaniel Schnyder will retrace thisunique voice with his "Lenya" im-provisations. And in the secondhalf of the evening, the Songspielwill take us back to Mahagonny.

26

martinu / schmidt

MARTINU

The Greek

Passion

The large-scale, grand opera TheGreek Passion by Czech composerBohuslav Martinu (after Nikos Ka-zantzakis' novel Christ Recrucified,1948) had a long and painful gene-sis.We wrote about this at length onthe occasion of the original Englishlanguage version's première at theBregenz Festival in 1999, and againfor the British première at CoventGarden in 2000 and the Germanpremière at the Bremer Theater in2003.

On 16 January 2005 comes the nextstep: The Greek Passion, which canalso be interpreted as a refugeedrama and is thus lent a sad topi-cality, arrives back in the homelandof the composer in a new produc-tion at the National Theatre ofBrno. The main roles in the operaare played by the choir of refugeesand the villagers, in keeping in linewith the intent of Kazantzakis: hewanted the work to be above all, anopera of the masses.

SCHMIDT

The funeral

march that

shocks

Franz Schmidt’s Symphony No. 4 isone of those rediscoveries whichhave long since found their wayback into the concert repertoire.Numerous performances and re-cordings (most recently the out-standing SACD with Yakov Kreiz-berg and the Netherlands Philhar-monic Orchestra Amsterdam, onPentaTone Classics PTC 5186015)have contributed to this success.

Symphony No. 4 has a special placein Schmidt's oeuvre. It was compo-sed in 1932/33 while he mournedthe loss of his daughter duringchildbirth. In the piece's secondsection, a cello solo leads into atouching funeral march whichswells to devastatingly powerfulsonic dimensions - the actual re-quiem.Next performances: Yakov Kreiz-berg with the NDR Symphony Or-chestra, 23-24 January 2005, Ham-burg; Fabio Luisi with the RoyalConcertgebouw Orchestra, 12-16January 2005, Amsterdam.

27

rediscoveries

ZEMLINSKY

Symphony in

B flat major

This youthful work, with which the26 year old Alexander Zemlinskywon the coveted Beethoven Award,was already his second attempt inthe genre.Its proponents, who take pains toanalyse the score thoroughly, prai-se its master handiwork and detectcharacteristics foreshadowing themature master. Critics point out itseclecticism and the influence ofBrahms (Passacaglia from Sympho-ny No. 4), Wagner (Parsifal and Sieg-fried) and Mahler. Ulrich Schreiber,who even thinks he hears traces ofSchubert's Octet, writes: It is musicof its day, in the best sense.The piecesounds as if the crisis of the sym-phony had never occurred.

On 9 October 04, Graham Jacksonconducted this work with theSchleswig - Holstein SO in Schles-wig, and in neighbouring cities du-ring the days that followed.

EDMUND VON BORCK

Composer and

victim of war

Edmund von Borck, born in Breslauin 1906 and killed on the Italianfront in 1944, studied compositionand conducting. He first worked asa Kapellmeister, but soon turned tocomposing. On what would havebeen his 50th birthday, H. Bentzwrote: His language is always un-compromising, and his statementsgo for the essence. He has thestrength to construct large formsand fill them accordingly.

Alexander Zemlinsky

28

rediscoveries

VITTORIO RIETI

One who was

forgotten ...

Not even the recently revived inte-rest in so-called "degenerate com-posers" has helped to achieve atrue rediscovery of the Italian com-poser Vittorio Rieti (1898-1994),who emigrated to the USA.In the 1920s, his ballet composi-tions met with great success: Ba-lanchine choreographed Barabauwith scenery by Maurice Utrilloand Le Bal with scenery by Giorgiode Chirico, and the Concerto forwind quintet and orchestra waspremièred under Alfredo Casella.This coming January, Le Bal is to re-ceive a new chance in Rome. Andon 28 October 2005, students ofWright State University will playConcerto in Dayton, Ohio.

Of this work, Rieti wrote:This concerto is written somewhatin the spirit of the old Italian con-certo grosso. In spirit, but not inform, because the form has more todo with modern concerti for solo in-struments, that is to say, sonataform.

The UE catalogue contains sixworks of Edmund von Borck, inclu-ding the Concerto for Orchestra,which Israel Yinon conducted andrecorded at WDR Cologne this September.

Borck's contemporaries were full ofpraise: What makes one listen is hisdetermined creativity, melodic logicand positively formal talent ... it isthe musical language of a loner,which culminates in raw power. …composition which quite decidedlygoes its own way.

Edmund von Borck

29

rediscoveries

KURT ATTERBERG

The curse

of beauty

When the 41 year old Swedish com-poser Kurt Atterberg won the cove-ted Columbia Schubert Composi-tion Award in New York in 1928, hislife changed in a major way. HisSymphony N0. 6 became popularovernight and graced concert hallsaround the world. Atterberg recei-ved a sizeable sum of money (hence Dollar Symphony), leavinghim free of immediate financialworry.

Critics and the merely jealous, whoviewed his work's beauty as the re-sult of cold calculation, were quickto arrive on the scene. Moneyaside, Atterberg's style - particular-ly his symphony's romantic Adagio -was a thorn in the sides of his mostmodern contemporaries, eventhough this movement was bornout of a deep love for Swedish folkmusic. The piece will be performedon 27 February 2005 in Heilbronn,by the Heilbronner Sinfonie Orche-ster under Peter Braschkat.

HUGO ALFVÉN

Symphony No. 4

The Swedish composer Hugo Alfvén, born 2 years before Schön-berg, survived his younger collea-gue by 9 years - yet his music re-mained entirely in the spirit of lateRomanticism.Alongside music, literature andpainting were also means whichAlfvén found suitable for the ex-pression of his thoughts and fee-lings. His most important source ofinspiration was nature, particularlywater. He spent much time boatingin the archipelago near Stockholm,and the strong impressions gainedon these outings flowed into hisSymphony No. 4 (1918/19) for so-prano, tenor and large orchestra.My symphony tells a fairy tale ofthe love between two humanbeings, Alfvén once said.

The beauty of this 47 minute sym-phony, which is little known outsi-de Sweden, moved Peter Kuhn toperform it with his orchestra in Bie-lefeld on 10 December.

30

reviews

SCHREKER

At last, Irrelohe

It is thanks to Vienna Volksoper di-rector Rudolf Berger that firstAustrian production of FranzSchreker's opera Irrelohe (premiè-red in Cologne in 1924) has beenplaying in Vienna since 16 October2004 (dir.: Olivier Tambosi, c.: Diet-fried Bernet). Schreker was amongthe most performed composers ofhis day. Banned by the Nazis, hismusic is now in the process ofbeing rediscovered.And to rave reviews: One could li-sten to these sounds until dizzy:opalescent, running into one anot-her, seductive (Süddeutsche Zei-tung, Gerhard Persché); Illuminatedsound-theatre … the music is ofcomplex, abundantly dissonant anddaring harmony, possessed of itsown "grammar" between expressio-nism and the modern. (Salzburger

Nachrichten, Heinz Rögl). At last,Schreker! Atlast, "Irrelohe" … a wildly glowingelegy to expressionism which simul-taneously throws the doors wideopen to new territory (Wiener Zei-tung, Edwin Baumgartner).

From 15 Dec 2004 to 24 Apr 2005,the Vienna Jewish Museum pre-sents the exhibition Franz Schreker:Crossing Borders, Crossing MusicalFrontiers, which offers a look at mu-sical and operatic history at thecrossroads between Art Nouveauand New Objectivity, between ro-manticism and modernism.On 25 Jan 2005, a concert at the Ra-dioKulturhaus will retrace Schre-ker's life with a selection of hisworks: the Vienna RSO, c. Peter Ru-zicka will play the Suite from "DerGeburtstag der Infantin", Vom ewi-gen Leben, Vorspiel zu einemDrama et al.

31

reviews

BIRTWISTLE

Antiphonies

Following the performance of SirHarrison Birtwistle's highly inven-tive and complex work Antiphonies(given by the Philharmonia Orche-stra with Christoph von Dohnányiconducting and Pierre-Laurent Ai-mard as soloist) at BirtwistleGames, the festival in honour ofthe composer's 70th birthday, thework then received its second everGerman performance just a fewdays later, on 12th November in Co-logne. Stefan Asbury conductedthe WDR Symphony Orchestra,with soloist Nic Hodges, in boththe concert and a studio recording.

Considered to be the composer'sown response to some of the musi-cal ideas in Gawain, Antiphonies isno conventional piano concerto,but rather a drama from which thepiano ultimately emerges trium-phant. The first ever performanceof this work was given in 1993 bythe Philharmonia and Boulez, withJoanna MacGregor as soloist.

BENNETT

Mines of Sulphur

In July and August 2004 Glimmer-glass Opera, New York, staged anew production of Richard RodneyBennett's atmospheric thriller TheMines of Sulphur. This opera waswidely acclaimed at its première inLondon in 1965, and productions inBerlin, Stockholm, and at La Scalain Milan soon followed.Musical America said of the Glim-merglass production, Bennett'smusic is very much the servant ofthe drama, and the result is grippingmusical theater.The New York City Opera will pre-sent the work in 2006.

Mines of SulphurGlimmerglass Opera 2004

32

anniversaries

2005

100th Anniversary Theodor Berger * 18 May 190580th Anniversary Luciano Berio * 24 October 192580th Birthday Pierre Boulez * 26 March 192575th Birthday Cristóbal Halffter * 24 March 1930

60th Birthday Vic Hoyland * 11 December 194570th Birthday Arvo Pärt * 11 September 193580th Birthday Gunther Schuller * 22 November 1925

100th Anniversary Eric Zeisl * 18 May 1905

2006

70th Birthday Gilbert Amy * 29 August 1936125th Anniversary Béla Bartók * 25 March 188170th Birthday Richard Rodney Bennett * 29 March 193650th Anniv. of Death Bertolt Brecht † 14 August 195680th Anniversary Earle Brown * 26 December 192680th Birthday Francis Burt * 28 April 192680th Birthday Friedrich Cerha * 17 February 192610th Anniv. of Death Gottfried von Einem † 12 July 1996

60th Birthday Michael Finnissy * 17 March 194675th Birthday Mauricio Kagel * 24 December 193170th Birthday Ladislav Kupkovic * 17 March 193680th Birthday György Kurtág * 19 February 1926

250th Anniversary Wolfgang Amadeus Mozart * 27 Jan 175670th Birthday Steve Reich * 03 October 1936

100th Anniversary Dmitri Schostakowitsch * 25 Sep 1906125th Anniversary Karl Weigl * 06 February 188170th Birthday Hans Zender * 22 November 1936

33

anniversaries

2007

75th Anniv. of Death Eugen d'Albert † 03 March 193270th Birthday David Bedford * 04 August 193720th Anniv. of Death Morton Feldman † 03 September 198780th Birthday Michael Gielen * 20 July 1927125th Anniversary Zoltán Kodály * 16 December 1882125th Anniversary Gian Francesco Malipiero * 18 March 1882125th Anniversary Joseph Marx * 11 May 188270th Birthday Gösta Neuwirth * 06 January 193750th Birthday Thomas Daniel Schlee * 26 October 195750th Anniv. of Death Othmar Schoeck † 08 March 1957125th Anniversary Karol Szymanowski * 06 October 188250th Birthday Julian Yu * 02 September 1957

2008

80th Anniversary Cathy Berberian * 04 July 192825th Anniv. of Death Cathy Berberian † 06 March 1983

90th Anniversary Gottfried von Einem * 24 January 191870th Birthday Zygmunt Krauze * 19 September 193880th Anniversary Gerhard Lampersberg * 05 July 192860th Birthday Nigel Osborne * 23 June 194860th Birthday Peter Ruzicka * 03 July 194870th Birthday Tona Scherchen * 12 March 193875th Anniv. of Death Max von Schillings † 24 July 1933

80th Birthday Karlheinz Stockhausen * 22 August 1928

34

world premieres

VYKINTAS BALTAKAS Work for Ensemble for ‘das neue werk’NDR SO, c. Peter Eötvös24 February 2005 · Rolf-Liebermann-Studio Hamburg/D

CRISTÓBAL HALFFTER Eritaña from “Iberia” by Isaac Albeniz for orchestraOrquesta Sinfónica de Madrid, c. Rafael Frühbeck de Burgos30 December 2004 · Teatro Real, Madrid/EPalimsesto 1956/2004 for timpani and orchestraDresdner Philharmonie, c. Pedro HalffterAlexander Peter, timpani05 February 2005 · Kulturpalast am Altmarkt Dresden/D

ROXANNA PANUFNIKAve Maria for choir (SSA) and organc. Anthony Cain, Downe House Choir15 December 2004 · St. Nicolas' Church Newbury/GB

WOLFGANG RIHM Rilke: Vier Gedichte for tenor and orchestraBasel Sinfonietta, c. Emilio PomáricoChristoph Prégardien, Tenor10 December 2004 · Stadtcasino Basel/CHÜber-Schrift for 2 pianosKlavierduo Andreas Grau & Götz Schumacher16 January 2005 · Konzerthaus, Neuer Saal Wien/ATrio for flute, violin and celloEmmanuel Pahud, fl, Daniel Sepec, vln, Jean-Guihen Queyras, vlc20 January 2005 · Philharmonie Köln/D

MAURICIO SOTELO Cuaderno de Danzas I for violin and ensembleUNICEF presentation, Contempoartensemblec. Mauro Ceccanti, Duccio Ceccanti, vln06 December 2004 · Teatro Pergola Firenze/IWall of light red for saxophone and chamber ensembleKlangforum Wien, c. Beat Furrer, Gerald Preinfalk, sax06 December 2004 · Helmut List-Halle Graz/A

35

new releases

MIKE CORNICK 20 Piano Studies in classical, jazz and popular styles for piano UE 21233

ANDREAS DORSCHEL (ED.) Dem Ohr voraus - Erwartung und Vorurteil in der Musik Studien zur Wertungsforschung, Bd. 44 UE 26844

MORTON FELDMAN For John Cage for violin and piano UE 21240

GEORG FRIEDRICH HAAS String Quartet No. 4 for string quartet and live electronicsScore UE 32915

ARVO PÄRT Zwei Wiegenlieder for voice and piano UE 32749

JAMES RAE Style Workout - studies in classical, jazz, rock and Latin styles for saxophone (soprano / alto / tenor) UE 21323

THOMAS DANIEL SCHLEE Amen. Halleluja op. 57 for organ UE 32923

MAURICIO SOTELO Estremecido por el viento for violin UE 32614

IAN WILSON Veer for string quartetScore and parts UE 21135

36

new releases

MIKE CORNICK

Studies -

but with a

difference!

20 Piano Studies in classical, jazz

and popular styles

UE 21233

Few of today's piano teacherswould choose to restrict their pupils´ repertoire to the strictly'classical' and this broadening ofapproach - to include pieces in a range of sty-les, is clearly reflected in the sylla-bus selections of most examina-tion boards.With this in mind, MikeCornick´s new set of piano studiesencludes pieces with a distinctLatin, jazz or pop 'feel' as well asthe expected classically-styledexercises. Pupils of middle gradestandard will find these pieces at-tractive an stimulating - each piecefocusing on a particular technicalor interpretative aspect of pianoplaying. For teachers selecting anappropriate study, a table has beenprovided giving details of key, style,time signature and rhythm.

37

new on cd + dvd

LUCIANO BERIO / FRANZ SCHUBERT RenderingBamberger Symphoniker, c. Jonathan NottTudor CD 7131

HARRISON BIRTWISTLE Earth Dances, Theseus GameEnsemble Modern, Martyn Brabbins and Pierre-André Valade,Ensemble Modern Orchestra, c. Pierre BoulezDeutsche Grammophon 20/21 4770702

HARRISON BIRTWISTLE Gawain's Journey, The Triumph of Time, Ritual Fragment Philharmonia Orchestra, London Sinfonietta,c. Elgar HowarthNMC CD D088

HARRISON BIRTWISTLE The Axe Manual - Complete Piano WorksSad Song, Berceuse de Jeanne, Précis, Hector's DawnNicolas Hodges, pnoMetronome MET CD 1074

MORTON FELDMAN Patterns in a Chromatic Field Charles Curtis, vlc, Aleck Karis, pnoTzadik Composer Series TZ 8002 CD

MORTON FELDMAN Violin and Orchestra, Coptic LightBayerischer Rundfunk SO, c. Peter Rundel, Isabelle Faust, vlnmusica viva, col legno WWE CD 20089

LEOS JANÁCEK Cunning Little Vixen Animated film after Janácek’sopera: Christine Buffle, Grant Doyle, Richard Coxon, BBS Singers,New London's Children's Choir, Deutsches SO Berlin, c. Kent NaganoVirgin/EMI CD 5 45586 2

KAGEL by MAURICIO KAGEL Anagrama et al.SWR Vokalensemble Stuttgart, c. Mauricio Kagel hänssler CLASSIC CD Nr. 93-054

ERNST KRENEK Piano WorksTill Alexander Körber, pno Capriccio CD 67078

ERNST KRENEK conducts ERNST KRENEK Orchestral Works NDR Sinfonieorchester, c. Ernst Krenek (NDR Klassik) EMI Classics NDR 10082

JOSEPH MARX Orchestral SongsBochum SO, c. Steven Sloane, Angela M. Blasi, Soprano, Stella Doufexis, Mezzo, ASV Sanctuary Classics, CD DCA 1164

ARVO PÄRT Psalom, Summa, Fratres, Es sang vor langen Jahren, StabatMater, Quatuor Franz Joseph, c. Christopher Jackson Atma/Musikwelt CD 2310

38

LUCIANO BERIO SincronieKairos Quartett · edition zeitklang ez 90007

LUCIANO BERIO SincronieKairos Quartett · edition zeitklang ez 90007

KURT ATTERBERG 6. SInfonie op 10

new on cd + dvd

FRANZ SCHMIDT Das Buch mit sieben SiegelnMDR-Sinfonieorchester, Michael Schönheit, org, c. Fabio Luisi Querstand/Musikwelt 2 CD 0411

WOLFGANG RIHM Deus Passus, KAROL SZYMANOWSKI Stabat MaterMünchner Rundfunkorchester, Chor des Bayerischen Rundfunks,c. Marcello Viotti, c. Helmuth Rillling Profil/Naxos CD 04035

KAROL SZYMANOWSKI Complete Songs with Piano accompanimentJuliana Gondek & Iwona Sobotka, Soprano, Urszula Kryger, Mezzo,Piotr Beczala, Tenor, Reinhild Mees, pno Channel Classics CCS 19398 (M04)

KURT WEILL Royal Palace, Der Neue OrpheusBBC SO, BBC Singers, c. Andrew Davis, Janis Watson, Stephen Richardson, Ashley Holland, Richard Coxon, Capriccio CD 60 106

HUGO ALFVÉN SymphonyNo. 4 op. 39StockholmPhilharmonicOrchestra,c. Neeme JärviBIS-CD-505

L. BERIO Natu-rale, Chemins II M. FELDMANRothko ChapelChristopheDesjardins, Col-legium Novumaeon/harmoniamundi AECD0425

ERNST KRENEKDer Diktator,Das geheimeKönigreich,SchwergewichtEnsemble Mo-dern, c. MartynBrabbins andPierre Boulez Capriccio 60107

KAROL SZYMANOWSKIKról RogerOrchestra andChorus of thePolish NationalOpera, c. Jacep KaspszykAccord ACD 131-2

39

OPERAS and VOCAL WORKS

Adolf Wölfli short opera . 1980/1981Libretto by the composer after texts by Adolf Wölfli 25’

Nacht chamber opera 1995-1996/1998Libretto by the composer after texts by Friedrich Hölderlin 75’

after Hyperion, Empedokles, Oedipus, letters

Die schöne Wunde opera in 2 parts 2002-2003Libretto by the composer after texts by Franz Kafka’s 150’

Der Landarzt, Edgar Allan Poe’s The Pit and the Pendulum et al.

lied for tenor and 2 percussion players 2000Text by Süsskind von Trimberg 5’

Blumenstück 2000for 32-voice choir, bass tuba and string quintet 18’

Text after Siebenkäs’ by Jean Paul

Haiku for baritone and ensemble 2004World Première: 24 April 2005, Witten New Music Days 12’

ORCHESTRA

"... sodaß ich's hernach, gleichsam wie ein schönes Bild ... 1990/1991im Geist übersehe" for string orchestra 16’

Descendiendo 1993for large orchestra 30’

Violin Concerto 1998for violin and orchestra 15’

Torso for large orchestra 1999-2000/2001after the unfinished Piano Sonata C major D840 (1825) 40’

by Franz Schubert

Natures mortes 2003 for large orchestra 26’

Opus 68 2003Alexander Nikolajewitsch Skrjabin’s Piano Sonata No. 9 (1913) 10’

for large orchestra, orchestrated by Georg Friedrich Haas

Rondeau 2003for ensemble, also for amateur or school orchestra 14’

Concerto for Cello and Orchestra 2003-2004 for cello and orchestra 30’

Ritual open air work 2004for 12 large drums, 3 wind orchestras and church bells ad lib. 75’

World Première: July 2005, Klangspuren Schwaz

haas worklist

5 Distances für Flöte, Oboe, Klarinette, Fagott und Horn. 1991/92Partitur UE 21085, Stimmensatz UE 21086 12’

4. Streichquartett 1988Partitur UE 31967, Stimmensatz UE 31968 10’

Sonate op. 20 a für Gitarre solo 2002

40

haas

ENSEMBLE

Sextett 1982for 3 violas and 3 cellos 13’

Quasi una Tânpûrâ 1990/1991for chamber orchestra 28’

"... Schatten ... durch unausdenkliche Wälder" 1992for 2 pianos and 2 percussion players 24’

Sextett 1992/1996for flute, clarinet, percussion, piano, violin and cello 15’

"...." 1994double concerto for accordion, viola and chamber ensemble 14’

"... über den Atem, die Stille und die Zerbrechlichkeit ..." 1994 for 7 brass instruments 23’

"... aus freier Lust ... verbunden ..." 1994/1995/1996for varied ensemble orchestrations 11’

"... Einklang freier Wesen ..." 1994/1995/1996 for 10 instruments 11’

Fremde Welten 1997for piano and 20 strings 27’

String Quartet No. 1 1997for string quartet 30’

String Quartet No. 2 1998for string quartet 18’

"In iij Noct." - String Quartet No. 3 2001for string quartet 40 - 60’

String Quartet No. 4 2003for string quartet and live electronics 25’

Monodie 1998/1999for 18 instruments 15’

Nach-Ruf ... ent-gleitend ... 1999for flute, oboe, clarinet, violin, viola and cello 16’

Wer, wenn ich schriee, hörte mich ... 1999for percussion and ensemble 25’

41

ENSEMBLE (cont.)

in vain 2000for 24 instruments 70’

tria ex uno 2001for flute, clarinet, percussion, piano, violin and cello 12’

"für Hans Landesmann" 2001-2002 for 12 instruments 7’

SOLO INSTRUMENTS

"... aus freier Lust ... verbunden ..." 1994/1995/1996 for different solo instruments 11’

Solo for Viola d'amore 2000for viola d'amore 15’

de terrae fine 2001for violin solo 21’

flow and friction 2001for microtone piano for 4 hands 9’

ein Saitenspiel 2002 for microtonally-tuned zither 4’

Ein Schattenspiel 2004for piano and live electronics 10’

Finale 2004for flute 10’

PROJECTS

Work for choir and orchestra (instrumentation of Mozart’s Requiem) 2005World Première: Mozarteum, 4 December 2005 Salzburg/A

Work for orchestra (Cleveland Orchestra, c. Franz Welser-Möst) 2005World Première: March 2006 Cleveland/USA

Work for orchestra 2006World Première: Donaueschinger Musiktage, October 2006

Work for 15 instrumentalists (Remix Ensemble) 2006World Première: November 2006 Porto/P

haas

42

UNIVERSAL EDITION

Austria: A-1015 Vienna, P.O. Box 3, Austria

tel +43-1-337 23 - 0, fax +43-1-337 23 - 400.

Great Britain: 48 Great Marlborough

Street, London W1F 7BB, Great Britain

tel +44-2074 376880, fax +44-2074 376115

www.universaledition.com

Editors: Angelika Dworak and

Eric Marinitsch

Contributors: Bálint András Varga, Eric

Marinitsch, Angelika Dworak, Rebecca

Dawson and Marion Hermann

Design: Egger & Lerch, Vienna

Photo Credits: Eric Marinitsch (11),

Helmut Wiederin, Johanna Kemptner,

Theater am Neumarkt Zürich /Caroline

Minjolle, Opus Arte, Nobert Croonenberg

BNO, Kertész Gyula/Hunnia Filmstudio,

Pfeifer, Kurt Weill Foundation, Dimo

Dimov / Volksoper Wien, George Mott /

Glimmerglass Opera, CDs: BIS, aeon/har-

monia mundi, Capriccio, Accord.